Higher order emergence
Considering the total liberty available in a defined system, an elaborately complicated labyrinth can also be coherent. What improved changes might be catalyzed for future visual organizations?
“In open systems we have not only production of entropy due to irreversible processes, but also import of negative entropy.” – Ludwig von Bertalanffy
Characterizing a transcendental philosophical operation, the assertions arising out of the ‘natural attitude’ are bracketed in abeyance. The natural attitude presumes both an exterior existence in which the objects of experiences are thought to abide and the validity of the appraisals about those objects. Merleau-Ponty avows that by bracketing such presumptions out of consideration, phenomenology divulges a “direct and primitive contact with the world.”
“In the natural attitude, in which for ourselves and for others we are called and are humans, to everything worldly there belongs the being-acceptedness: existent in the world, in the world that is always existent beforehand as constant acceptedness of a basis. So also man’s being is being in the world that is existent beforehand.” – Edmund Husserl
Intuitive manifestation furnishes aesthetic access as sometimes things workout well from start to finish. Indexical diptychs illustrate gestalt bindings used to acquire and maintain meaningful perceptions surrouned by habitual uncertainty.
“This world is all one continued vision of fancy or imagination.” – William Blake
The present experience always contains a remembered past and a predicted future within its brevity. Retention and protention are structural features of any conscious act that differ from recollection and expectation. In one case, memory is in the service of the present providing a frame of coherence, while in the other memory is experienced as events that are finished. Therefore the recollected event is not conceived as occurring at this time, but functions as history in relation to the now present.
“Things co-exist in space because they are present to the same perceiving subject and enveloped in one and the same temporal wave. But the unity and individuality of each temporal wave is possible only if it is wedged in between the preceding and the following one, and if the same temporal pulsation which produces it still retains its predecessor and anticipates its successor.” – Maurice Merleau-Ponty
The abstract plays an important role in both everyday existence and aesthetic research. From certain enlightened viewpoints, abstractions constitute higher truths than those embodied in mere concrete appearances. The artist is able to negotiate this veracity discrepancy, as imagination once articulated in material form becomes an authentic component of actuality.
“The strive after absolute appearance demands greater capacity for abstraction, more freedom of heart, [and] more vigor of will than Man needs if he confines himself to reality.” – Friedrich Schiller
Pointing to a certain state of affairs, here we have a diptych of instrumental indexicality. It is nice to pile up a manifold range of conceptual ideas into an integrated visual expression.
“Not only the boundaries between the different arts, but the boundaries between art and everything that is not art, are being obliterated.” – Clement Greenberg
Small hard objects worn smooth by wave oscillation cycles adorn the shoreline. Walking across the pebbled beach surface, the transfer of energy is palatable. Pleasure arrives in elegant packets, where objects are perceived as bundles of properties and yet exist independent from those properties.
“Indeed, every true science has for its object the determination of certain phenomena by means of others, in accordance with the relations which exist between them.” – Auguste Comte
Seeking the real in muscular indexical tracing, distinctions occur in the extreme heat of a late summer’s day. There is an organic wholeness, associated with diptych constructs, that evolves in geometrical progression. The given is an equation ready to be determined.
“The life-giving zeal in a work of art is deeply imbedded in its qualitative substance.” – Hans Hofmann
Complementing geometric shapes give form to content, as mysterious elements are hidden in the details.
“Twice and thrice over, as they say, good is it to repeat and review what is good.” – Plato
Becoming aware of something through the senses, all perception is interpretation. By deploying imagination across every experience, an affirmative life potential expands. Part of the freedom comes from tapping multiple elucidatory cognitive sources: conscious reasoning, preconscious intuition, and unconscious instincts. There is no inherent necessity to stay within arbitrary external lines.
“Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception.” – Stan Brakhage